1999 Summer Concert 1999 Summer ConcertFeaturing works by Matt Ingalls, Juan Pampin, Seungyon-Seny Lee, Christopher Jones, Matthew Burtner, and Kotoka Suzuki.
The fourth installment of the new CCRMA concert series, "CCRMA Courtyard Concerts". The courtyard of CCRMA's residence on the Stanford campus is the new venue for performances of "Digital Music Under The Stars". Music involving real and virtual instruments, sound processing, and synthesis, projected in a surround-sound, multi-channel environment, will make the latest pieces composed at CCRMA come alive.
Bring a blanket to sit on the lawn (chairs will be provided as well). Parking is provided at Tresidder Union, signs will guide you from there to the Knoll.
| Program | |
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Duet Matt Ingalls, clarinet
| Matt Ingalls |
CLAIRE is a virtual improviser written in HMSL. It has been over a year since our last gig together. Like most mediocre musicians perfoming free improvisation, she takes a while to "lock in", sometimes "goes off" without listening to others, occasionally makes really dumb "choices", and often resorts to the easiest trick in the book: direct immitation. Having said this, she is a better improviser than a lot of musicians i have played with recently, and i do enjoy making music with her. | |
Matt Ingalls is a clarinetist/composer/computer music artist based in oakland. He is currently most active with improvised music in various solo, group, and electronic settings. More info on matt and his compositions/performances /recordings/software is on the web: http://www.concentric.net/~Mingalls | |
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Apocalypse Was Postponed for computer-generated tape | Juan Pampin
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Apocalypse... presents a continuous evolution of a group of materials that can be perceived as plastic sound objects. These sounds objects undergo different kind of mutations in short and long term, creating by their interaction textures with intricate but distinct morphology. The title of the piece expresses the feeling I have about art in this society nowadays. --Juan Pampin | |
Born in Buenos Aires, Argentina, Juan Pampin has studied composition with Oscar Edelstein and Francisco Kröpfl. He holds a Master in Computer Music from the Conservatoire Nationale Supérieur de Musique de Lyon, where he studied with Denis Lorrain and Philippe Manoury. As a Visiting Composer at CCRMA in 1994, he composed the tape piece "Apocalypse was postponed due to lack of interest" that received an award in the Concours International de Musique éléctroacoustique de Bourges 1995. He has been composer in residence at the LIEM-CDMC studio in Madrid, and guest lecturer at Quilmes National University in Argentina. Next year he will be working at the "Center for Advanced Research Technology in the Arts and Humanities" (CARTAH) at the University of Washington, Seattle, where will be teaching Computer Music and doing research and composition. In the present, Juan Pampin's main composition project is a cycle of percussion pieces with electronics. This cycle will be completed with a percussion sextet, comissioned by "Les Percussion de Strasbourg" for the "Musiques en Scène" festival in france, to be premiered in March 2000. This work is also the final project for his DMA in composition at Stanford. | |
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Chuk-won (1998-99) for four percussionists and tape Conductor: Ronald Bruce Smith | Seungyon-Seny Lee
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This piece is based on Samul nori which is a traditional from of Korean percussion music. Samul means "four things" in English and nori means "performing". The ensemble's members consist of two skins and two metals. The instruments symbolize earth (skins) and the heavens (metal). The instruments are identified with a constantly changing natural world. The metal instruments represent (1)Spring/ lightening, thunder and (2) Summer/ wind. The skin instruments represent (1) Autumn/rain and (2) Winter/clouds. It is said that if people play on these four instruments together, the resulting vibrations will harmonize earth and heaven into one universe. Sounds for the 1st movememt include recordings of stones, metallic instruments, ceramic bowls, and insects. The recorded sounds were created using the sound editing Sound Editor and Granular Synthesis (original sounds were recorded from a CD of Korean traditional music). The composition scheme of the whole piece is the following:
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| Seungyon-Seny Lee was born in Seoul, Korea where she studied composition at Chugye College from 1988 to 1992. She holds a master's degree in composition from Boston University where she studied with Lukas Foss and Richard Cornell. Also, she has studied with Barry Vercoe at the MIT Media Lab. As a DMA student in the Department of Music at Stanford University, Seny is studying with Jonathan Harvey, David Soley. | |
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Matragn for clarinet and electronics Matt Ingalls, clarinet | Christopher Jones |
The title of this piece reflects its structural nature. "Matragn" is a reordering of the letters of the word "Tangram," a Chinese puzzle. The puzzle is solved by arranging seven simple shapes in a multitude of configurations to create new, more complex forms. Like the puzzle, "Matragn" consists of simple elements which are perpetually reordered and reinvented. "Matragn" was written for clarinetist/composer/improviser Matt Ingalls, whose improvisations provided the sonic core for the electronic part. Special thanks also to Chris Burns and Juan Pampin for their technical advice and support. --Christopher Jones | |
Composer and pianist, Christopher Jones was born in 1969 in Albuquerque, New Mexico. As a pianist, Christopher has extensive experience performing contemporary music. In addition to numerous solo performances, he has worked with the Indiana University New Music Ensemble, the New Vienna Ensemble at IU, New Works Calgary, the University of Calgary New Music Ensemble, and the Group for Contemporary Music at the University of Washington in Seattle. Christopher has had performances recorded for radio broadcast by WGBH in Boston, and CBC in Calgary. Christopher completed his Bachelor of Music in piano performance at the New England Conservatory, and a Master of Music in piano at Indiana University. Currently, he is completing a Master's degree in composition at the University of Calgary, and is pursuing a DMA in composition at Stanford University. | |
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Stone Phase for stereo tape | Matthew Burtner |
"Stone Phase" (1999) explores form as a function of dynamic polyrhythmic phase systems. Stone textures containing as many as 32 independent transforming tempi are hierarchically ordered by phase relationships to create slowly evolving polyrhythmic systems. The piece moves from the disorder of the initial stone explosion, through processes of macro-rhythmic organization, finally into a unified pulse as all the groups come into phase. The piece is part of an ongoing compositional project exploring structural applications of acoustic noise and rhythm. --Matthew Burtner | |
Matthew Burtner's compositional work is guided by an interest in natural acoustic processes, and a focus on music as the synthesis of imagination and environment. A native of Alaska, he studied philosophy at St. Johns College, music composition at Tulane University (BFA 1993), computer music at Iannis Xenakis's Center for the Study of Mathematics and Automation in Music (CEMAMu), and computer music at the Peabody Institute of Johns Hopkins University (MM 1997). From 1996 to 1998, he was composer-in-residence at the Banff Centre for the Arts, Simon Fraser University in Vancouver, and the Audiovisual Institute in Barcelona. He is currently a doctoral composer at CCRMA. Burtner has written for a wide variety of ensembles and media, and has received numerous prizes, commissions and grants for his work. His music has been performed throughout North America and Europe, as well as in Japan, Australia, China, and Brazil, and is available on recordings from DACO and Innova Records. | |
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Yoei (1999) for 6 percussionists, CD, and Dancer Conductor: Ronald Bruce Smith | Kotoka Suzuki |
"Yoei" is a Japanese word, which describes a sound that rings and flutters in the air, resonating in one's ear long after it has been heard. This piece exploits many different acoustic movements to create this effect, with six percussionists and the electronic sound, surrounding the audience in order to complete the spatial environment. The primary goal of this piece, however, is not merely to create sounds, but to combine the world of the visual with that of sound. I have stretched the role of the dancer from merely visual, to both acoustic and visual - creating a live instrumental performer - a dancer who triggers and controls the electronic sounds in real-time using the five electric sensors that are attached to his/her body. All the computer generated sound sources derive from the sounds of the percussion instruments used in this piece, and similarly, the percussion often imitates the sounds of the computer-generated sounds of the CD and the dancer. The percussion sounds were manipulated and recorded of the music of the CD and the dance using sound editing programs such as Sound Editor and CLM. | |
Kotoka Suzuki received a B.M. degree in composition from Indiana University and a D.M.A. degree in composition at Stanford University where she studied with Jonathan Harvey and David Solely. She has also been a fellow composer at Domain de Forget, June in Buffalo, Voix Nouvelles Royaumont, and Darmstadt, where she studied with York Höller, Walter Zimmermann, Brian Ferneyhough, and Franco Donatoni. She has been commissioned by Continuum and Nouvel Ensemble Moderne (Canada), and her works have been also performed by the Stanford String Quartet and the members of Buffalo Symphony Orchestra. Recently, her sextet "Distortion" was performed at the Made in Canada Festival and was broadcasted nationwide by the CBC. She has composed for both acoustic and electronicmeans, as well as for dance and film. Most recently, she has been selected to be a Resident Artist at the Djerassi Resident Artist Program in California for the 1999 season to work on her new project.dent Artists Program. | |
| ©1999 CCRMA, Stanford University. All Rights Reserved. Created and mantained by Fernando Lopez-Lezcano, nando@ccrma.stanford.edu
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